David Cameron discusses strategies to end FGM and forced marriage at the Girl Summit last summer. Photo: Oli Scarff/WPA Pool/Getty
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What are the practical steps we need to take to end FGM in the UK?

As MPs discuss a national action plan to end FGM, campaigners explain the practical steps the country needs to take to eradicate this abuse.

It was once an obscure, hidden strain of violence against women. Ignored by the state, its victims were silenced and isolated, their pain dismissed. But, in recent years, female genital mutilation has been brought into the public consciousness. We now have data on how widespread FGM is in the UK, and it tells us that 170,000 women and girls are living with the effects of this abuse in the UK, and another 65,000 girls aged 13 and under are at risk. For the first time, an accused practitioner of FGM is being prosecuted.

But despite all this high-profile conversation, the government is still yet to systematically tackle the growing prevalence of this violent abuse in the UK with the implementation of an organised, national plan of action. Last year, a major inquiry was launched by the Home Affairs Committee to do just that: find practical solutions to end this in this country. Its findings have now been published, and this afternoon, in the stately calm of Westminster Hall, MPs debate whether they feel there is “a case” for government action. 

Grassroots activists fought hard to bring this issue to Westminster. Two major anti-FGM organisations, Daughters of Eve and Equality Now, set up a petition last year which called on the government to end this “very British problem”, and sparked the current inquiry. But now the Home Office has finally responded to their pleas for action, is their proposed course the right one?

The report outlines five clear steps that should be taken to eradicate FGM in the UK:

  1. The achievement of successful prosecutions
     
  2. The safeguarding of at-risk girls
     
  3. Changes to the law
     
  4. Improved working with communities to abandon FGM
     
  5. Better services for women and girls already living with FGM
     

Nimko Ali, the co-founder of Daughters of Eve, has written with disarming candour on FGM, as both a survivor and a campaigner. She has repeatedly called for practical solutions to end the practice, insisting that it simply needs to be handled in the same way as all other forms of child abuse. She told me that while she celebrates the fact that action finally seems to be approaching, she feels that some aspects of the report misunderstand the issue, specifically the aim of “working with communities to abandon FGM”. That word, “communities”, she says, is troublesome to her. 

“It’s dehumanising. I wonder, ‘what do they mean when they say communities?’ These girls are Bristolian, or they're Welsh, or they're Londoners. There's no single community identity. I always say, forget culture, forget community, and think about the child.” 

It’s an area of the FGM debate that has been particularly thorny. On Newsnight in 2012, Muna Hassan, a young activist for the equality charity Integrate Bristol, explained how she saw politicians’ slowness to act on ending FGM as a result of both a racist othering of FGM victims, and a fear of appearing culturally insensitive. “What would you do if the girl had blue eyes and blonde hair? Would FGM still be carrying on in the UK?” she asked, before telling David Cameron to “grow a pair and do something about FGM”. Last year, Diane Abbott was criticised for saying that the practice was “embedded in culture”, and said that the government must “understand why people who consider themselves conscientious family members would collude with this process”. 

Ali thinks the idea of “working with” practitioners of FGM is unhelpful. “This is child abuse, it’s as simple as that. You wouldn't negotiate with paedophiles in order to defeat paedophilia. No, you engage with a wider general public.” 

Ali also sees the report’s emphasis on prosecuting practitioners of FGM as misplaced. “Prosecution should not be the priority. Every time someone says, ‘We need to get a prosecution’, I just keep hearing that we've already failed a girl in order to get that prosecution. Preventing FGM is the priority. If we prevent it, then we break the cycle.”

Ali knows from experience that the women directly affected by FGM are more concerned with prevention than prosecution. “I had a conversation with a mother once, who was concerned about her daughter being cut. I asked her, ‘would you want somebody arrested if they cut your child?’ and she said, ‘Ultimately, they committed a crime, but I can never un-cut my daughter’.

“What she said stayed with me, it was so powerful, and so heartfelt. A prosecution can legitimise your pain as an adult, but it can never undo those scars. So I would rather prevent those scars and prevent the trauma, than get someone locked up in prison. Behind every prosecution is a child that has been failed.” 

Mary Wandia, FGM programme manager at Equality Now, similarly prioritises several other prevention strategies over retrospective arrests. She argues that to eliminate FGM, “simultaneous actions need to take place aimed at prevention, protection of girls at risk, service provision and working in partnerships”. While she acknowledges that progress has been made, she notes that “the government has yet to fully engage on several fronts, including the adequate provision of support to survivors, raising awareness at a national level and ensuring that front-line professionals receive appropriate training to ensure that all girls at risk are protected.” 

Anti-FGM campaigners come back again and again to the training of front-line professionals. The Home Office report makes it clear that an awareness of how to help at-risk girls is a vital tool for all professionals working in health care, education, social care, and the police forces. It’s this part of the report that chimes most strongly with the advice of activists. 

Muna Hassan told me that in her mind “one of the most important things the government can do to tackle FGM is to ensure education around gender based violence is statutory in all schools across the UK: in order to end FGM within a generation we need to empower the future generation of parents. Compulsory training and reporting amongst all sectors working with children is also incredibly important. Being able to tell a child is at risk, could possibly save a life.” 

It’s this part of the report that Ali, too, is most hopeful for. “It's about empowerment and education. And we need to give teachers, social workers, and all those people the tools and the confidence to say ‘something’s wrong.’” 

What would Ali say to the MPs debating today? “I think it's great that this conversation is happening, but it's taken a long time to actually get to this point. Let's not play party politics with the lives of young women and children, and let's just move this forward. We can end FGM but it's about working together in order to do that. There are girls who today are three years old, and by the time the next parliament ends in 2020, those girls will be at risk of FGM. So I want to know what the next government is going to do to save them. There are children being born today that we can save.”

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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